Skip to main content

Full text of "The Frick Collection members' magazine spring/summer 2016."

See other formats

The Frick Collection 


»* #■#(«.'* i 


Gouthiere Candelabra 

The Frick Collection 
Board of Trustees 

Margot Bogert, Chairman 
Aso O. Tavitian, Vice Chairman 
Juan Sabater, Treasurer 
Michael J. Horvitz, Secretary 

Peter P. Blanchard III 
Ayesha Bulchandani-Mathrani 
Bradford Evans 
Elizabeth M. Eveillard 
Barbara G. Fleischman 
Emily T. Frick 
Sidney R. Knafel 
Monika McLennan 
James S. Reibel, M.D. 

Charles M. Royce 
Stephen A. Schwarzman 
Bernard Selz 
Melinda Martin Sullivan 
J. Fife Symington IV 
Ian Wardropper, ex officio 

President Emerita 
Helen Clay Chace 

Trustees Emeriti 
John P. Birkelund 
I. Townsend Burden III 
L. F. Boker Doyle 
Blair Effron 
Franklin W. Hobbs 
Howard Phipps Jr. 

Letter from the Director 

Art is the heart of The Frick Collection, and 
while the distinguished residence built by 
Carrere and Hastings in 1912-14 (and perfectly 
complemented by John Russell Popes 1934 
addition) provides the setting critical to the 
visitors experience, Henry Clay Fricks mag¬ 
nificent collection of paintings, sculptures, and 
decorative arts was the real impetus for his endowment of the institution. Since Mr. Fricks 
death, in 1919, the museum has continued to acquire objects of the highest quality, in keep¬ 
ing with Mr. Fricks tradition of collecting only the finest European masterpieces from the 
Renaissance to the early twentieth century. 

Many members may not be aware of how much the collection has grown since Mr. Fricks 
day. His daughter Helen Clay shared her fathers passion for art and, as the chairman of the 
museums acquisitions committee for nearly forty years, played a key role in expanding 
the institutions range, with important acquisitions by Italian Renaissance masters Duccio, 
Cimabue, and Piero della Francesca. Visitors are often surprised to learn that one of the 
museums most recognized and popular works, Jean-Auguste-Dominique Ingress Comtesse 
d’Haussonville (inside back cover), was acquired not by Mr. Frick but by the institutions 
trustees, in 1927. Countless other works have been added to the collection since, including, 
in 1991, Jean-Antoine Watteaus Portal of Valenciennes , the inspiration for this summers 
exhibition Watteaus Soldiers: Scenes of Military Life in Eighteenth-Century France. 

The Frick has also acquired several collections as gifts, beginning with the collection of 
blue and white Chinese porcelain bequeathed in 1965 by the founders son, Childs Frick. 
In 1999, Winthrop Kellogg Edey s collection of early European clocks and watches came to 
the Frick by bequest, creating a constellation around a bright star, the eighteenth-century 
French longcase regulator clock purchased by Mr. Frick in 1915. A number of objects 
from Henry Arnhold’s promised gift of Meissen porcelain were formally transferred to 
the museum just recently and are featured in the exhibition Porcelain, No Simple Matter: 
Arlene Shechet and the Arnhold Collection. 

This past year has seen several spectacular additions to the permanent collection. On 
the cover we feature a pair of candelabra by Pierre Gouthiere that were purchased a few 
months ago with the help of trustee Sidney R. Knafel, who also was instrumental in the 
acquisition of a rare Saint-Porchaire ewer last year. Continuing a tradition of adding great 
private holdings to our own, I am delighted to announce a significant gift of portrait med¬ 
als from the Stephen K. and Janie Woo Scher Collection, the finest private collection of 
medals in the world. Highlights from this gift will be the focus of a major exhibition next 
year, as well as a comprehensive catalogue. 

I am hugely grateful to these collectors and donors, whose generosity adds to the vital¬ 
ity of the Frick now and for future generations. During your next visit, be sure to keep an 
eye out for these wonderful additions to the collection. 

The Members' Magazine is 
published three times a year by 
The Frick Collection as a benefit 
for its members. 

Volume 16, Number 2 
issn: 1534-6412 
Editor: Rebecca Brooke 

With all best wishes, 

Ian Wardropper 

The Frick Collection 



Portrait Medals from the Scher Collection: Gift Adds a 
New Dimension to the Permanent Collection 


Candelabra by Pierre Gouthiere Acquired: 

The Generous Gift of Trustee Sidney R. Knafel 


Porcelain, No Simple Matter: 

Arlene Shechet and the Arnhold Collection 


Watteaus Soldiers: Scenes of Military Life 
in Eighteenth-Century France 


Frick Event Highlights: From Spring Garden Party to 
Ghetto Film School Dinner 


Educational Programming and Museum Shop 


Pair of Candelabra, 1782, hard-paste porcelain and marble with gilt-bronze mounts by 
Pierre Gouthiere (1732-1813), after a design by Fran^ois-Joseph Belanger (1744-1818), 
The Frick Collection, gift of Sidney R. Knafel. A detail appears on the back cover. 
Photograph by Michael Bodycomb 


Hoopoe on Tree Trunk (one of a pair), 1736, Meissen porcelain, model by 
Johann Joachim Kandler (1706-1775), promised gift from the Arnhold Collection 


Portrait Medals from the Scher Collection 

Gift Adds a New Dimension to the Permanent Collection 

T he Frick Collection is pleased to 
announce a gift from the Stephen K. 
and Janie Woo Scher Collection. Considered 
the world’s greatest private collection of por¬ 
trait medals, the Scher Collection rivals— 
and in many cases, surpasses—the holdings 
of portrait medals in major American muse¬ 
ums. An initial gift to the Frick of about 
four hundred and fifty medals is representa¬ 
tive of the collections superb quality and 
breadth. Dating from the fifteenth to the 
nineteenth century, the medals represent the 
evolution and flourishing of the art form in 
Italy, France, Germany, the Netherlands, and 
England, among other regions. 

The portrait medal, which was invented 
during the Italian Renaissance, is central to 
the history of European portraiture from the 
fifteenth century onward. Less familiar to 
modern museumgoers than the arts of paint¬ 
ing and sculpture, these small-scale objects 
typically feature a portrait on one side (the 
obverse) and, on the reverse, an allegorical 
or emblematic image representing aspects 
of the sitters biography, achievements, or 
beliefs. Commemorating individuals of the 
highest status and accomplishment, portrait 


Antonio di Puccio Pisano, called Pisanello, 

(ca. 1395-ca. 1455), Leonello d’Este (obverse and reverse), 
ca. 1445, bronze. All objects illustrated are from the 
Stephen K. and Janie Woo Scher Collection. 


Guillaume Dupre (1574 or 1576-1643), Louis XIII 
(obverse and reverse), 1620, bronze 


Unknown artist, Coronation of William and Mary 
(obverse and reverse), 1689, silver 

medals disseminated the sitter’s power, glory, 
and identity widely, but, at the same time, 
intimately. These exquisitely crafted objects 
were produced in multiples and were small 
enough to travel easily to places far away 
from the artist and sitter. 

Masters of the medallic arts were often 
well-known painters and sculptors. Antonio 
di Puccio Pisano, called Pisanello, one of the 
most celebrated Italian painters of the fif¬ 
teenth century, is traditionally credited as the 
inventor of the portrait medal. His medal of 
Leonello d’Este (above), like most portraits 
of the time, emulates ancient Roman coins 
by presenting the sitter in profile. (Unlike 
coins, medals were not intended to circulate 
as currency and thus are not bound to speci¬ 
fications of weight and material.) Allegorical 
images on the reverse of medals were meant 
to be interpreted by their collectors. In the 
case of the Leonello d’Este medal, the reverse 
depicting two men carrying baskets of olive 
branches symbolizes the blessings of peace, 
alluding to the good governance of Leonello, 
who served as marquis of Ferrara from 
1441 to 1450. The inscription on the reverse, 

opvs pisani pictoris, declares the medal 
to be “the work of Pisanello the painter.” 
Obverse portraits could be combined with 
different reverses, so that an individual could 
highlight various aspects of his or her per¬ 
sona by commissioning multiple medals. 
For example, a second medal of Leonello by 
Pisanello in the Scher Collection depicts on 
the reverse an allegorical image of a head 
with three faces; a third shows a lion (a play 
on Leonello’s name) being taught to sing. 
These have been interpreted to celebrate, 
respectively, the marquis’s prudence in gov¬ 
erning and his happy marriage. 

The French seventeenth-century artist 
Guillaume Dupre is among the most cel¬ 
ebrated medallists of all time. In addition to 
making medals, he was also a cannon founder 
and served as first sculptor to Louis XIII. 
Dupre advanced the technique of medals 
casting (pouring molten metal into a mold) 
to an unparalleled level of refinement and 
detail. In his medal of Louis XIII (opposite 
page, top left), which features on the reverse 
a portrait of the king’s wife, Anne of Austria 
(opposite page, far right), the artist captures 

2 The Frick Collection 


with breathtaking detail the kings ruff, the 
queens standing lace collar and jewels, and 
their distinctively styled hair. This example, 
like Dupres other cast medals, approaches the 
extreme precision achieved through striking, 
a technique developed primarily for minting 
coins that requires specialized machinery and 
physical force. The loop attached to the top 
of the medal suggests it was suspended for 
display or perhaps worn by its owner. 

Medals were often produced to acknowl¬ 
edge specific events or milestones, such as 
marriages, deaths, coronations, and mili¬ 
tary victories. A silver medal depicting the 
enthroned and crowned William III and 
Mary II of England (right), celebrates their 
coronation in Amsterdam in 1689, the date 
inscribed below the figures. The unknown 
artist who cast this medal included charming 
details such as the tassels at the corners of 
the cushions on which the figures rest their 
feet and, on the reverse, the plumes adorn¬ 
ing the hats of the three members of the 
City Guard of Amsterdam, whose names are 
inscribed around the perimeter. 

By the seventeenth century, medals were 
not limited to commemorating only the 
royal and aristocratic classes. Individuals of 
sufficient means could purchase ready-made 
medals depicting a generic event, such as an 
anniversary or marriage, then personalize 
them by inscribing their names and bio¬ 
graphical details. 

The material from which a medal is 
formed (lead, bronze, silver, or gold) makes 
it both durable and precious. Combining 
metals, in particular covering bronze or silver 
with gold in whole or in part, can achieve 
dazzling visual effects. In the case of the 

parcel-gilt bronze medal commemorating 
the death of George I of England (page 4, top 
left), the contrast between gold and bronze 
heightens the sculptural relief of the portrait 
bust and emphasizes the monumentality of 
the figure despite the diminutive size of 
the medal, which is just over one inch in 
diameter. On the reverse (page 4, top right), 
an allegorical figure supporting a medallic 
portrait representing George earlier in his life 
serves at once to memorialize the late king 
and to emphasize the importance of the por¬ 
trait medal as a means of commemoration. 

Death is a constant presence in portrait 
medal imagery. The memento mori was for 

centuries a ubiquitous reminder of the inevi¬ 
tability of death, and medal reverses feature 
countless representations of the passage of 
time and impermanence of life, from skulls 
to hourglasses to children blowing soap 
bubbles destined to burst. The boldly simple 
skull and bones on the reverse of a medal 
inscribed with the name Michael Leonhard 
Maier (page 4, bottom) is a haunting coun¬ 
terpart to his portrait on the other side. The 
visual impact of this reverse derives not only 
from its simplicity, but from its high sculp¬ 
tural relief as well. These common remind¬ 
ers of mortality also emphasize that portrait 
medals both commemorate and immortalize 

Members’ Magazine Spring/'Summer 2016 3 


their sitters: the sculpted image endures long 
after the body perishes. 

The medallion is a designation given to 
medals of a distinctly larger size, and the 
gilt-bronze example depicting the Empress 
Josephine, the first wife of Napoleon 
Bonaparte (opposite page), is a tour de force 
of the kind of modern sculptural portrai¬ 
ture explored extensively by the nineteenth- 
century French artist Pierre-Jean David 
dAngers. Lavishing attention on the decora¬ 
tive details of his regal sitters adornments, 
David dAngers activates her by playing 
with the conventional profile portrait: the 


Jean Dassier (1676-1763), George I (obverse and 
reverse), 1727, parcel-gilt bronze 


Baldwin Drentwett (1545-active until 1627), 
Michael Leonhard Maier (obverse and reverse), 
1580, silver 


Pierre-Jean David d’Angers (1788-1856), Empress 
Josephine Lapagerie Bonaparte , ca. 1804, gilt bronze 

position of her lace collar, neck, and shoul¬ 
ders indicates that she has just turned her 
face away from the viewer; indeed, her dan¬ 
gling gem-encrusted earring seems still to 
be swinging just slightly to the right. The 
medallion was created the year Napoleon 
Bonaparte became emperor of France. 

In many ways, the Frick is the perfect 
home for the Scher medals, as they cohere 
seamlessly with Henry Clay Fricks sustained 
interest in the art of portraiture. The medals 
also contribute to building a fuller art his¬ 
torical context for the permanent collections 
paintings, sculptures, decorative arts, and 

works on paper. Significantly, the portrait 
medals inventor, Pisanello, is represented in 
the Fricks permanent collection by a mid- 
fifteenth-century drawing that mirrors the 
same concentrated visual study he used to 
capture the likenesses of his portrait medal 
sitters. Together, Pisanellos drawing and 
medals demonstrate the range of his interest 
in depicting the world around him. 

The Fricks holdings find poignant and 
powerful complements and counterpoints 
in the Scher medals. Portrait medals created 
for the French court during the sixteenth 
century enrich the artistic context in which 
the Fricks superlative collection of Limoges 
enamels were crafted and displayed. The 
Fricks painted portraits by Holbein, Titian, 
and Bronzino are enhanced by comparison 
to medals made contemporaneously and 
for the same circles of patrons. For instance, 
Pietro Aretino, the subject of Titans great 
portrait (ca. 1537) acquired by Frick in 1905, 
commissioned at least five portrait med¬ 
als during his life; he purposely used both 
painted and medallic portraiture to circulate 
his image in order to promote and ingratiate 

4 The Frick Collection 


himself to the rulers of Europe. Several 
sculptors represented in the Fricks perma¬ 
nent collection—including Antico, Bertoldo 
di Giovanni, Jonghelinck, and Soldani—are 
also acclaimed medallists represented in the 
Scher Collection. Uniting the Frick sculp¬ 
tures with the Scher medals sparks new 
ways of looking at these artists’ creative 
output and the range and complexity of 
their sculptural invention. Such intersections 
make clear that the portrait medal played an 
important (if now less familiar) role in the 
history of European art. 

Dr. Stephen K. Scher, a world-renowned 
scholar of art history, grew up in New York 
City. He began collecting portrait medals as a 
graduate student at the Institute of Fine Arts, 
New York University, where he earned his 
Masters degree. After completing his Ph.D. 
at Yale University in 1966, he went on to 
teach art history at Brown University, serv¬ 
ing as chairman of the art department from 
1972-73. It was during his tenure at Brown 
that Dr. Scher first met Ian Wardropper, a 
student in his course on early Netherlandish 
painting who would go on to become Director 
of The Frick Collection in 2011. Though it was 
unknown to them at the time, the relation¬ 
ship between the Schers and the Frick would 
prove to be a long and rewarding one. 

Dr. Scher and his wife, Janie Woo Scher 
(a chemist and volunteer in the Department 
of Scientific Research of The Metropolitan 
Museum of Art) have been longtime sup¬ 
porters of the Fricks exhibitions and edu¬ 
cational programs. The Frick has presented 
two landmark exhibitions on the art of the 
portrait medal organized with Dr. Scher: 
The Currency of Fame (1994) and The Proud 

Republic: Dutch Medals of the Golden Age 
(1997). In the decades since, Dr. Scher has 
given lectures and led numerous seminars 
and classes at the museum, giving par¬ 
ticipants the rare opportunity to view and 
engage with his collection. 

The Schers’s gift establishes the Frick as 
a new center for the study of the medallic 
arts. Since first collaborating with the Frick 
to present The Currency of Fame, Dr. Scher 
has advanced an approach to the study of 
medals that insists on their significant place 
in the history of art. Traditionally viewed 
as a specialized field closer to numismatics 
than to fine art, the study of the portrait 
medal has become, through the work of 
Dr. Scher and others, a burgeoning area of 
new scholarship. Dr. Schers contributions 

to art history and the gift to the Frick of his 
and his wife’s personal collection embody 
the commitment to arts education that led 
Henry Clay Frick to bequeath his residence 
and art collection to the public, to encour¬ 
age and develop the study of the fine arts. 
—Aimee Ng , Associate Curator 

Beginning in May 2017, an exhibition at the 
Frick featuring selections from the Scher 
Collection will explore the challenges, com¬ 
plexities, possibilities, and, above all, the inti¬ 
mate beauty and wit of the portrait medal 
The exhibition will be accompanied by a 
fully illustrated catalogue of the entire Scher 
Collection, which will serve as an essential 
resource for scholars, students, and curators. 

Members Magazine Spring/Summer 2016 5 


Candelabra by Pierre Gouthiere Acquired 

The Generous Gift of Trustee Sidney R. Knafel 

P ierre Gouthiere is arguably one of the 
greatest artists of the eighteenth cen¬ 
tury, yet his name is unfamiliar to most. He 
was neither a painter nor a sculptor, but a 
master chaser-gilder who transformed utili¬ 
tarian gilt-bronze objects such as door knobs, 
firedogs, and candlesticks into opulent objets 
dart with the appearance of finely worked 
gold. Gouthieres chasing and gilding tech¬ 
niques were so exceptional that they brought 
him fame during his lifetime, and his elabo¬ 
rate creations commanded amounts equal 
to, and sometimes greater than, those asked 
by the most talented painters and sculptors. 
His work was highly coveted by the most 
powerful figures of pre-Revolutionary France, 
including Louis XVI, Marie Antoinette, and 
Madame Du Barry (Louis XV s mistress). 

An exuberant pair of candelabra by 
Gouthiere (right) was recently acquired 
by The Frick Collection, through the gen¬ 
erous gift of Trustee Sidney R. Knafel. 
Commissioned by the Duke of Aumont, 
one of the eras most important art col¬ 
lectors, the candelabra perfectly exemplify 
the technical and artistic excellence reached 
by Gouthiere during the second half of 
the eighteenth century. The pair makes a 
wonderful addition to the permanent col¬ 
lection, which holds several masterpieces 
of French eighteenth-century art, including 
Jean-Honore Fragonards Progress of Love 


Pair of Candelabra, 1782, hard-paste porcelain and 
marble with gilt-bronze mounts by Pierre Gouthiere 
(1732-1813), after a design by Fran^ois-Joseph 
Belanger (1744-1818), The Frick Collection, 
gift of Sidney R. Knafel 

of 1771-72 and a bleu turquin marble table 
(page 8), also with gilt-bronze mounts by 
Gouthiere. The candelabra and table will 
be included in the first exhibition focusing 
on Gouthiere, which opens at the Frick in 
November before traveling to the Musee 
des arts decoratifs in Paris. Presenting thirty 
works from public and private collections, 
Pierre Gouthiere: Virtuoso Gilder at the 
French Court will shed new light on the art¬ 
ists production, life, and workshop. 

The candelabra are the collaboration 
of Gouthiere and another great French 

artist of the eighteenth century, the architect 
Fran^ois-Joseph Belanger, who was respon¬ 
sible for their design. Each candelabrum is 
comprised of a white porcelain vase sur¬ 
mounted by a gadroon frieze and three goat 
heads that seem to sprout spiraling leaf- 
covered candleholders. The vases are sup¬ 
ported by three pairs of cloven goat hooves, 
which rest atop white marble bases adorned 
with gilt-bronze mounts. 

Gouthieres extremely detailed chas¬ 
ing lends a naturalistic appearance to the 
swirling ivy and grape vines decorating the 

6 The Frick Collection 


vases’ shoulders, as well as to the individual 
pomegranates, pears, and other fruits that 
spill from the cornucopias that form each 
candleholder. At the same time, the rough 
texture of the goats’ ridged horns contrasts 
with the silky appearance of their wool. The 
vases’ elaborate gilt-bronze mounts exem¬ 
plify Gouthiere’s superb chasing, which he 
achieved by using specialized tools to ham¬ 
mer and incise different patterns and tex¬ 
tures into the surface of cast metal, before 
gilding. His exceptional chasing was embel¬ 
lished by his unique gilding techniques, 
which included dorure au mat , or matte¬ 
gilding, a chemical treatment that gives 
a soft luster to the surface of the gold. 
Although Gouthiere was credited as early 
as 1810 with inventing this process, he most 
likely adapted a technique that had been 
used by silversmiths and goldsmiths since 
the early eighteenth century. Because the 
dorure au mat technique requires a much 
thicker layer of gold than standard gilding 
and is therefore more expensive to produce, 
it was used only on gilt bronzes intended for 
the royal family and a few elite clients. On 
these candelabra, Gouthiere’s matte gilding 
can be seen on the goats’ heads and on the 
many leaves of the candleholders, in both 
instances creating a beautiful contrast with 
the burnished (shining) gilding of the goats’ 
horns and the candleholders’ fruits. 


Side Table, 1781, bleu turquin marble with gilt-bronze 
mounts by Pierre Gouthiere; designed by Fran^ois- 
Joseph Belanger and Jean-Fran<;ois-Therese Chalgrin 
(1739-1811), The Frick Collection. The detail shows the 
beauty of Gouthieres chasing and gilding techniques. 

While little is known of Gouthiere’s early 
training, he became a master chaser-gilder 
in 1758, and by 1765 he was gilding pieces 
of both bronze and silver for the famous 
silversmith Fran^ois-Thomas Germain. In 
1767, Louis XV appointed him doreur seul 
ordinaire (gilder to the king), thus initiating 
his long career in the service of the French 
court. Gouthiere worked at the behest of the 
Menus-Plaisirs et Affaires de la Chambre 
du Roi, an administrative body of the royal 
household, which managed the king’s per¬ 
sonal effects and organized lavish events for 
his entertainment, creating sets for theatrical 
productions and decor for significant state 
occasions such as marriages and funerals. 
The artists employed by the Menus-Plaisirs 
were free to develop new ideas without 
constraint, and their workshops were the 
locus for the latest fashions. The Premiers 
Gentilshommes de la Chambre, who headed 
the Menus-Plaisirs, were powerful members 

of the nobility, famous for their luxurious 
and eccentric lifestyles. The best known 
among them was Louis-Marie-Augustin, the 
Duke of Aumont, whose cabinet of curi¬ 
osities was renowned among connoisseurs 
for its exquisite antique marbles, mounted 
porphyry, Asian porcelain, and gilt-bronze 
objects. The duke was Gouthiere’s best cli¬ 
ent; not only did he commission works for 
himself, but he also encouraged members 
of his family (including his daughter-in-law, 

8 The Frick Collection 


Louise-Jeanne-Constance d’Aumont, Duchess 
of Mazarin) to do the same. The duke com¬ 
missioned the candelabra around 1782, but 
died before they were completed. Gouthiere 
did, however, finish them in time for the 
dukes estate sale, which began on December 
12,1782, and lasted for nine days. 

Each of the auctions 447 objects, includ¬ 
ing the candelabra, was described in a sales 
catalogue written by Philippe-Fran^ois 
Julliot, a well-known merchant of luxury 
goods, and the painter Alexandre-Joseph 
Paillet. The catalogue specified that “all the 
works [by Gouthiere] are indicated at the end 
of the entries by the initial letter G.” Julliot 
and Paillet attributed the candelabra (lot 148 
in the auction sales catalogue) to Gouthiere, 
noting that the gilt-bronze mounts were of 
“distinctive refined taste.” The candelabra 
were purchased by the Duke of Aumonf s son, 
Louis-Alexandre-Celeste dAumont, Duke of 
Villequier, for an impressive 1,180 livres (an 
amount equivalent to the annual salary of a 
successful craftsman working around 1770). 

What makes these candelabra so striking 
is the contrast between Gouthiere’s elaborate 
bronzes and the simplicity of the white vases, 
which Aumont clearly valued highly since 
he commissioned such expensive mounts 
for them. Although the vases are listed in 
the Aumont sale catalogue in the section 
titled “old white Japanese porcelain,” they are 
described as ancien blanc de Saxe (Meissen 
porcelain). Technical studies are ongoing, 
but it seems that one vase is indeed Meissen 
porcelain, made in the early eighteenth cen¬ 
tury at the royal Meissen manufactory near 
Dresden, the first European manufactory to 
produce true porcelain. 

Despite his enormous success, Gou- 
thieres extravagant expenditures and a series 
of financial setbacks—including the huge 
uncollected sum owed him by Madame Du 
Barry and the death of Aumont and another 
important client, the Duchess of Mazarin— 
forced him to declare bankruptcy in 1787. He 
worked very little after this and died in pov¬ 
erty on June 8,1813. Not long after his death, 
Gouthiere was lauded by collectors, critics, 
and other specialists as one of the most 

important artists of the period, a fame that 
has not faded in those circles during subse¬ 
quent centuries .—Charlotte Vignon, Curator 
of Decorative Arts 

The candelabra will be featured along with 
thirty other works by Gouthiere in “Pierre 
Gouthiere: Virtuoso Gilder at the French 
Court,” on view at The Frick Collection 
November 16, 2016, through February 19, 2017. 

Help Enhance The Frick Collection 

Donate to the Acquisitions Fund 

T he Frick’s Board of Trustees is 
pleased to introduce the Acquisitions 
Fund, established especially to help the 
museum continue to purchase objects 
that enhance and complement its hold¬ 
ings for the enjoyment of the public. 
Acquisitions have a long history at the 
Frick. Soon after the museum opened in 
1935, Henry Clay Fricks daughter Helen 
wrote to members of the museums acqui¬ 
sitions committee that “to cease buying 
works of art unless compelled to do so for 
financial reasons would be a great detri¬ 
ment to The Frick Collection,” and that it 
“was the intention of the Founder that great 
works of art should be added from time to 
time...” Thanks to this far-sighted view, 
the permanent collection has nearly dou¬ 
bled since Mr. Fricks death through dona¬ 
tions of art from private collections and 

select purchases including well-known and 
cherished works such as Ingress Comtesse 
dHaussonville , Memling’s Portrait of a 
Man , Antico’s Hercules, Constables White 
Horse, and Houdons Diana the Huntress. 

Please consider supporting The Frick 
Collection in its longstanding commit¬ 
ment to acquiring exceptional works of art 
by making a donation to the Acquisitions 
Fund, in addition to your membership gift. 
Regardless of the amount, your contribu¬ 
tion will make a difference. 

To support the Acquisitions Fund, please 
contact Genevra Le Voci at 212.3476871. 
You may also make a gift online at or mail your check 
to Acquisitions Fund, The Frick Collection, 
1 East 70th Street, New York, NY 10021. 

Members Magazine Spring/Summer 2016 9 


Porcelain, No Simple Matter 

Arlene Shechet and the Arnhold Collection 

May 24, 2016, through April 2, 2017 

F or this special exhibition, The Frick 
Collection invited New York-based 
artist Arlene Shechet to select about one hun¬ 
dred eighteenth-century pieces of Meissen 
porcelain from the renowned collection 
of Henry Arnhold and install them in the 
Portico Gallery, along with sixteen of her 
own porcelain sculptures. Shechets inventive 
installation richly extends the context of both 
the eighteenth-century pieces and her work. 

Although porcelain was manufactured in 
China as early as the seventh century, its pro¬ 
duction remained a mystery in Europe until 
1709, when the alchemist Johann Friedrich 
Bottger succeeded in producing white por¬ 
celain. Until then, porcelain had been known 
as “white gold,” as it was available in Europe 
only through imports from China and Japan. 
In 1710, Bottgers patron, August II, elector 
of Saxony and king of Poland, established a 
porcelain manufactory in Dresden, the seat 
of the Saxon court. So determined was he to 
keep the formula a secret that he relocated 
his manufactory to the secure clifftop castle 
of Albrechtsburg in Meissen, fifteen miles 

outside of Dresden. The Meissen factory has 
remained there, in continuous production, 
ever since. 

Henry Arnhold’s parents, Lisa and 
Heinrich, began collecting Meissen porcelain 
in 1926, when they lived in Dresden, acquir¬ 
ing mostly tablewares, vases, and objects of 
royal or noteworthy provenance. Henry fol¬ 
lowed in their footsteps, becoming a patron 
of the arts and an avid Meissen collector. 

In a recent interview with exhibition 
curator Charlotte Vignon and Arlene 
Shechet, Mr. Arnhold recalled: “By the time 
we left Germany [in 1937], the Meissen col¬ 
lection was quite substantial. Shortly after I 
came back from the army after World War II, 
I got married and started to set up a home. 
By then, my mother had moved to an apart¬ 
ment in New York, and she was quite happy 
to share things with both me and one of my 
sisters who also had moved to New York. I 
made myself a little collection at home, and 
when professionals—whether artists, collec¬ 
tors, or museum people—came to see my 
mothers collection, they also came over to 

see mine. In the late 1980s, the art historian 
Maureen Cassidy-Geiger came up with the 
idea of publishing a catalogue of my col¬ 
lection; and at that point, I became very 
involved again, a real activist in terms of my 
collecting. I also took Maureen on trips to 
what was called Leningrad at the time and 
to Prague, Florence, Paris, Dresden, and 
Munich—everywhere. Well, lappetit vient 
en mangeant [appetite comes with eating] — 
that’s what the French taught me.” 

Not only does Mr. Arnhold have a great 
appetite, he also has an unfailing eye—one 
that guided the acquisition of each of the 
pieces in his collection, including the objects 
illustrated below, which are included in the 

By contrast, Arlene Shechets interest 
in Meissen porcelain came completely by 
chance, when a few years ago the curator and 
art dealer Peter Nagy, who knew Shechets 
work and its relationship with historical 
material, recommended her for an artists 
residency at the Meissen factory. Although 
Shechet had worked for many years with 

10 The Frick Collection 


All works illustrated were made at the Meissen Porcelain 
Manufactory. Unless otherwise indicated, works are 
on loan from the Arnhold Collection. Those by Arlene 
Shechet are courtesy of the artist. 


Exhibition display with Arlene Shechet s Big Dragon 
(bottom, center) and Three Hundred Years (far right and 
far left), juxtaposed with Meissen porcelain, ca. 1725-35 


Saucer and Tea Bowl, ca. 1720, decorated outside 
the Meissen factory, ca. 1745, promised gift from the 
Arnhold Collection 

Freemason Couple Taking Chocolate, model by Johann 
Joachim Kandler (1706-1775), ca. 1745 

Small Two-Handled Bowl with Cover, 1735 or 1738, 
model by Johann Joachim Kandler and/or Johann 
Friedrich Eberlein (1696-1749) 

clay, she had no previous experience work¬ 
ing in porcelain and was excited by the 
opportunity to explore this very technical 
medium onsite at the Meissen manufactory. 
“The allure of spending time inside a func¬ 
tioning factory [was] extremely compelling. 
As a child in New York, I used to tell my 
parents there were two things I wanted to be 
when I grew up: a farmer or a factory worker. 
Thinking about that in recent years as I work 
in my studio, I realize that being an artist is, 
in many ways, like being both a farmer and 
a factory worker. I’m growing things and 
generating a vision. I’m not completely in 
control and am always aware of a process 
thats bigger than me. As a child, I always 
wanted to know how things were made or 

came into being. It was the beginning of 
figuring out that I needed to be an artist. I’m 
still deeply interested in the process of how 
things grow. I grow things in my studio and 
also in my gardens. I believe art and nature 
are very aligned.” 

Made during her residency at Meissen 
in 2012 and 2013, Shechet’s unique composi¬ 
tions reflect her fascination with the process 
of making porcelain. For example, she cre¬ 
ated Mix and Match , one of the exhibition’s 
featured works, by using eighteenth-century 
molds from the Meissen archives. Each ele¬ 
ment of the fanciful sculpture was cast sepa¬ 
rately then decorated with a different color or 
pattern. After her first few weeks at Meissen, 
Shechet realized that the molds were the 

Members'Magazine Spring/Summer 2016 11 



Installation display with Shechet s Bug Plate (2013) 
and a mounted group (ca. 1728-30), model attributed 
to George Fritzsche (ca. 1697-1756), with gilt-bronze 
mounts, probably French, promised gift from the 
Arnhold Collection 


Fluted Bowl, ca. 1730 

Arlene Shechet (b. 1951), Scallop Bowl, 2012 

core of all the porcelain produced at the fac¬ 
tory since the eighteenth century—“almost 
like the factory’s DNA.” To communicate 
this idea in her works, she attempted to link 
the molds’ industrial imagery with the very 
refined aesthetic of porcelain. To accomplish 
this, she made molds of the factory’s three- 
hundred-year-old plaster originals then cast 
them in porcelain, turning industrial objects 
into fine works of art. The exhibition includes 
Henry Arnhold’s Fluted Bowl (opposite page, 

left) paired with her Scallop Bowl (opposite 
page, right), a mold work that was created by 
casting the Fluted Bowls original plaster mold 
in porcelain. Her fascination with the process 
of making porcelain can be seen in the visible 
seams, cracks, and drips that are often found 
on cast and hand-painted works, as well as her 
inclusion of the mold’s inventory numbers on 
the surface of her sculptures. Shechet painted 
and gilded each piece at Meissen according 
to traditional manufactory techniques, but 
fused her works with her own language and 
sensibility as seen in her interpretation (page 
11, bottom center) of the painted decoration of 
Meissen’s famous “Red Dragon” service. 

Although Shechet’s compositions are 
undeniably linked to eighteenth-century 
Meissen production through the historic 
molds and traditional techniques used to cre¬ 
ate and decorate them, they also differ radi¬ 
cally from their earlier counterparts. Since its 
founding, the Meissen factory has produced 
pieces that are cast and painted by hand but 
are produced as unlimited multiples. The 
artists and craftsmen working in the factory 
make only minor decisions about the pieces’ 
final appearance, which is predetermined by 
the existing molds and traditional painting 
techniques. In contrast, each of Shechet’s 
sculptures is unique, conceived and created 
entirely by her. However, since Shechet made 
these sculptures at the Meissen factory, they 
are all signed with the factory’s blue crossed 
swords, the mark of the Meissen factory since 
the eighteenth century. 

Shechet’s installation eschews the typi¬ 
cal chronological or thematic order of most 
installations in favor of a personal approach 
that opens an intriguing visual and technical 

12 The Frick Collection 


dialogue between the contemporary and the 
historical. Her installation is inspired by the 
domestic setting of The Frick Collections 
galleries, which are characterized by a com¬ 
bination of objects, textures, colors, and 
materials. Shechet turned to objects from 
the permanent collection when designing 
the display cases for the installation, taking 
as her inspiration, for example, the early 
eighteenth-century French desk by Andre- 
Charles Boulle that is currently in the Living 
Hall. Likewise, the green damask behind the 
exhibitions display cases evokes the muse¬ 
ums fabric-covered walls. 

The exhibitions location in the Portico 
Gallery, overlooking the museums historic 
Fifth Avenue Garden, reflects Shechets wish 
to extend the exhibition into the garden 
while simultaneously bringing the natural 
world indoors. For this reason, plexiglass 
was chosen for the two pedestal-tables near 
the Portico Gallery’s floor-to-ceiling win¬ 
dows in order to offer an unobstructed view 
of the garden. The theme of the exhibition 
also derives from its location, with the fea¬ 
tured pieces selected for their evocations and 

depictions of nature, an important source of 
inspiration for artists working at the Meissen 
factory as well as for Shechet. 

The integration of Shechets work with 
porcelain from Mr. Arnholds collection cre¬ 
ates a kind of tableau vivant in which the 
objects—figures, cups, teapots, and vases— 
seem to come to life, a direct reference to 
the eighteenth-century European concept 
of animating inanimate objects. The dis¬ 
play also references late seventeenth- and 
eighteenth-century European gardens that 
invited contemplation of art and nature, as 
well as contemporaneous “porcelain rooms,” 
in which walls were covered with hundreds 
of pieces of porcelain, often arranged by 
color. As in these historical settings, surprise 
and delight are at the core of the installation; 
look for porcelain birds mounted overhead 
in the Porticos rotunda and large Meissen 
animals outside, their stark white a dramatic 
contrast to the gardens greenery. 

The exhibitions title, “Porcelain, No 
Simple Matter,” was chosen by Shechet and 
is meant as an entreaty to the viewer to look 
more closely and prepare to be surprised. 

For Shechet, as for Arnhold, these beautiful 
objects are not simply dishes or figurines 
or painted knickknacks—they are carefully 
considered works of art. By exploring the 
complex history of the making, collect¬ 
ing, and display of porcelain, the exhibition 
offers a unique opportunity to reevaluate and 
reexamine a medium, a matter , often taken 
for granted .—Charlotte Vignon, Curator of 
Decorative Arts 

“Porcelain, No Simple Matter: Arlene Shechet 
and the Arnhold Collection ’ was organized 
by Charlotte Vignon, Curator of Decorative 
Arts, The Frick Collection. Major support 
for the exhibition is generously provided by 
Chuck and Deborah Royce, Melinda and 
Paul Sullivan, Margot and Jerry Bogert, and 
Monika McLennan. 

Ms. Vignon would like to acknowledge 
Stephen Saitas, Joseph Godla, Patrick King, 
Arthur Fowler, Adrian Anderson, Chelsea 
Maruskin, Catherine Feck, Henry McMahon, 
and Lucas Ruggieri for their help in creating 
this unique installation. 

Members’Magazine Spring/Summer 2016 13 


Watteaus Soldiers 

Scenes of Military Life in Eighteenth-Century France 

July 12 through October 2, 2016 

M ost know Jean-Antoine Watteau as 
a painter of amorous aristocrats and 
melancholy actors, a dreamer of exquisite 
parklands and impossibly refined fetes. Few 
artists would seem further removed from 
the misery of war. And yet, early in his short 
career, Watteau created a number of military 
scenes—about a dozen paintings and some 
thirty surviving drawings. For the most part, 
they were executed during the War of the 
Spanish Succession (1701-14), which saw 
Louis XIV battle almost the whole of Europe 
in a bid to place his grandson, Philip, Duke 
of Anjou, on the Spanish throne. However, 
neither the turmoil of battle nor the suffering 
that ensued seems to have held much interest 
for Watteau. Instead, he focused on the pro¬ 
saic aspects of military life—marches, halts, 
and encampments. The resulting works show 
quiet moments between the fighting, outside 
the regimented discipline of drills and battle, 
when soldiers could rest and daydream, 
smoke pipes and play cards. Although these 
themes are indebted to seventeenth-century 
Dutch and Flemish genre scenes, Watteaus 
drawings and paintings are set apart by their 
focus on the common soldier. More than 
his predecessors, Watteau offers an intimate 
vision of war, one in which the human 


Jean-Antoine Watteau (1684-1721), Three Studies of 
Resting Soldiers, ca. 1713-14, red chalk, ficole nationale 
superieure des Beaux-Arts, Paris 


Watteau, The Portal of Valenciennes, ca. 1710-11, 
oil on canvas, The Frick Collection 

Watteau, Three Studies of Soldiers Holding Muskets and 
Wearing Capes, ca. 1710, red chalk and stump on cream 
paper, The Courtauld Institute Galleries, London 

element comes to the fore. His soldiers are 
endowed with an inner life, with subjectivity. 

This summer, the Frick will present 
Watteaus Soldiers: Scenes of Military Life in 
Eighteenth-Century France , the first exhibi¬ 
tion devoted to these captivating and little- 
known works. On display will be four of 
Watteaus seven surviving military paintings 
and thirteen red chalk studies, several of 
which are directly related to the paintings 
on view. Also included will be works by 
one of Watteaus predecessors and two of 
his followers: the Fricks Calvary Camp by 
Philips Wouwerman, a typical example 
of the seventeenth-century Dutch military 
paintings after which Watteau modeled his 
own; a study of a soldier by Jean-Baptiste 
Pater, from the Fondation Custodia, Paris; 

and a painting of a military camp by Nicolas 
Lancret, from a private collection. Together, 
they shed light on Watteaus unusual work¬ 
ing method and distinctive vision. 

Unlike most seventeenth- and eighteenth- 
century artists, Watteau did not proceed 
methodically from compositional sketches, 
figural studies, and full-scale models to 
the final painting. Instead, his process fol¬ 
lowed the whims of his imagination and the 
demands of the moment. He began by draw¬ 
ing soldiers from life, many of whom he likely 
observed at a military encampment near his 
hometown of Valenciennes, in northeastern 
France, which he visited in 1710. Favoring 
natural poses, his drawings are united in their 
focus on states of absorption and withdrawal. 
Three Studies of Resting Soldiers (above) is a 

14 The Frick Collection 



prime example. Most likely depicting a single 
model, this magnificent sheet shows a soldier 
lying flat on his belly, another sprawled on 
his back, and a third propping himself up 
with his left arm as he looks dreamily into the 
distance. With striking naturalism, Watteau 
captures a succession of fleeting private 
moments at the margins of battle, moments 
of retreat into reverie and reflection. 

In this and other drawings featured in 
the exhibition, Watteau lavishes a rare atten¬ 
tion and care on a subject that, at the time, 
was regarded as mundane or even lowly. 
Nonetheless, the viewer is kept at a distance. 
Nothing about the soldiers’ faces or bodies 
hints at their thoughts or emotions; noth¬ 
ing gives us access to their state of mind. 
While the poses and attitudes of the soldiers 

Members Magazine Spring/Summer 2016 15 


indicate their immersion in their inner lives, 
the contours and contents of that life are 
frustratingly inaccessible. Ultimately, they 
are closed off within the shells of their bod¬ 
ies, opaque and unknowable. 

Whereas most painters of his time posed 
and sketched figures according to their role 
in an already worked-out composition, 


Watteau, The Halt, ca. 1710, oil on canvas, 

Museo Thyssen-Bornemisza, Madrid 


Watteau, Three Studies of a Soldier and a Kneeling 
Man, ca. 1710, red chalk, ficole nationale superieure 
des Beaux-Arts, Paris 

Watteau made his drawings without a spe¬ 
cific end in mind. His studies provided him 
with a stable of figures that he would later 
arrange on the canvas. As a consequence, 
figures previously isolated in his sketchbook 
were brought together and juxtaposed in 
new social relationships. Watteaus working 
method generated unusual effects, resulting 
in connections between individuals that are 
not entirely resolved. For example, despite 
their physical proximity, sometimes the sol¬ 
diers appear to look down or off into the 
distance, lost in reflection. Other times, even 
when they face each other, it is not at all 
clear that they interact in meaningful ways. 
This often lends Watteau s scenes a dreamlike 
ambiguity and mystery. 

The Frick Collections Portal of Valenci¬ 
ennes (page 15, top) and a related drawing, 
Three Studies of Soldiers Holding Muskets 
and Wearing Capes (page 15, bottom)— 
shown together for the first time in this 
exhibition—are a case in point. In compos¬ 
ing the painting, Watteau used the central 
figure in the drawing as the basis for the sol¬ 
dier on the far left of the canvas. In this new 
context, the man now faces another soldier, 
but the remnants of his previous isolation 
on the page persist. Because the figures 
were not originally drawn or conceived as 
engaging with each other, their gazes do not 
quite meet. What appears on first inspection 
to be a scene of conviviality (if not quite 
esprit de corps) gives way to a series of failed 

16 The Frick Collection 



connections, a vision of uneasy and troubled 
social commerce. 

The situation is similar in a second 
Watteau painting featured in the exhibition, 
The Halt (opposite page). Here the figures 
are connected by a network of gazes: an 
officer in red, on the left, glares at the man 
tending to his horse, while an elegantly 
dressed woman in yellow, perhaps his wife 
(wives were a common sight in military 
camps of the day), looks in the direction of 
the woman next to her. At the same time, 
the soldier with his arm in a sling, leaning 
against the tree, stares across the canvas at 
the pair of women, while soldiers on either 
side look down at nothing in particular. On 
the far right, another soldier looks down at 
the man lying at his feet. Various groups of 
conversing individuals populate the back¬ 
ground, rounding out a scene brimming 
with apparent companionship and commu¬ 
nity. Yet a closer look shows that this scene 
is a more troubled social landscape than it 
first appears. Many of the figures, such as 
the man resting his head on his hand to the 
left of the tree, seem lost in their own world; 
even when one figure looks toward another, 
it is not clear that the gaze is returned or 
that a real connection has been made. An 

obvious case is the soldier on the far right 
looking down at the man with his head in 
his arms; the soldier with the sling looking 
toward the women also fails to connect with 
them. Even the gazes of the two women do 
not quite meet. 

The figures’ lack of connection is the 
direct result of Watteau’s working method. 
Rather than being conceived as elements 
of a coherent, pre-determined composition, 
the figures in The Halt were executed as 
independent and unrelated studies—one of 
which, Three Studies of a Soldier and a 
Kneeling Man (above) also appears in the 
exhibition. Atypically, Watteau used all four 
figures from this drawing in his painting, 
although he separated and rearranged them 
on the canvas. For instance, the two men 
on the left in the drawing seem to be star¬ 
ing at each other, engaging in some kind of 
silent dialogue. In the painting, however, the 
crouching man is now shown looking up at 
the officer in red (left), leaving the other sol¬ 
dier (in the middle of the composition, to the 
right of the tree) staring into space. Watteau’s 
process preserves the sense of opacity we 
observe in his studies. The drawings served 
as building blocks for a whole architecture of 
irresolution and ambiguity. 

What is the significance of Watteau’s 
vision? Cleary, his military paintings are not 
documentary transcriptions of soldiers’ lives, 
but rather scenes constructed with patent 
artifice. Though at first glance picturesque, 
the works can be seen as making a larger 
point about the way in which people relate 
to each other, about the connections that 
hold society together. Watteau seems to have 
understood that the absence of traditional 
familial and social bonds in times of war, 
coupled with the sheer struggle for survival, 
raise profound questions about how people 
connect. In this way, his military scenes 
convey the essentially modern insight that 
society is held together by the thinnest of 
threads, that our connections are menaced 
by mutual incomprehension and estrange¬ 
ment. At the same time, the paintings’ 
acknowledgment that, despite this, the very 
existence of society depends on our forging 
ahead, gives them a poignancy that reso¬ 
nates today .—Aaron Wile, Anne L. Poulet 
Curatorial Fellow 

“Watteaus Soldiers: Scenes of Military Life in 
Eighteenth-Century France ” was organized by 
Aaron Wile, Anne L. Poulet Curatorial Fellow, 
The Frick Collection. Principal support is 
provided by an anonymous gift in memory of 
Melvin R. Seiden. Major support for the exhi¬ 
bition is also provided by the David L. Klein, 
Jr. Foundation, Sally and Howard Lepow, 
The Andrew W. Mellon Foundation, and Aso 
O. Tavitian, with an additional contribu¬ 
tion from Susannah Hunnewell Weiss. The 
catalogue is made possible by The Versailles 
Foundation, Inc. 

Members' Magazine Spring/Summer 2016 17 


Frick Event Highlights 

From Spring Garden Party to Ghetto Film School Dinner 

M ore than seven hundred guests gath¬ 
ered for the Spring Garden Party to 
celebrate the opening of Porcelain , No Simple 
Matter: Arlene Shechet and the Arnhold 
Collection. The event, on May 23, recognized 
Fellows for their generous support of the 
museum and library. Events earlier in the year 
included a dinner in January hosted by Ian 
Wardropper for members of the Directors 
Circle, and the annual Young Fellows Ball 
in March, which raised nearly $300,000 for 
the museums education program. Chairmen 
and members of the Young Fellows Steering 
Committee wore dresses by Carolina Herrera 
New York, the evenings sponsor. 

In February, the Frick hosted a dinner 
for students from one of its many part¬ 
ner schools, the Ghetto Film School in the 
Bronx, the country’s first public high school 
dedicated to the art of filmmaking. Before 
dinner, guests were treated to a screening of 
the short film shot by students at the Frick 
last August. 

Spring Garden Party 1. Fellows and their guests 
in the Fifth Avenue Garden 2. Joyce Cowin and 
Philip Buckner 3. Saheer Mathrani and Ayesha 
Bulchandani-Mathrani 4 - R° n Chernow, 

Elise Cheng, Alexandra Truitt, and Arlene Shechet 
5. Paul Arnhold, Henry Arnhold, and Julia 
Arnhold 6. Betty Eveillard, Inge Reist, 
and Rob Freeman 7. Adela Goldsmith and 

Robert Goldsmith 8. Adam Eaker, Stijn Alsteens, 
Beatrice Bianca Bertoli, Davide Stefanacci, and 
Ronnie West 9. Chuck and Deborah Royce 
10. Arlene Shechet, Henry Arnhold, and Melinda 
Sullivan 11. Kate Reibel, Sarah McNear, and 
Margot Bogert 

Director’s Circle Dinner 12. Ian Wardropper, 

Aimee Ng, Steve and Christine Schwarzman 
13. Barbara Fleischman and Paul Sullivan 

Young Fellows Ball 14. Joann Pailey, Lisa Volling, 
Amory McAndrew, Sloan Overstrom, Rickie De Sole, 
and Elizabeth Kurpis 15. Laura Avnius, Akhurapa 
Ambak, and Emily Santos 16. Michael Parker, Eaddy 
Kiernan, and Lacy Kiernan 

Ghetto Film School Dinner 17. Students from the 
Ghetto Film School with (back row, left to right) Joe 
Hall, Sarah Jones, Xavier F. Salomon, David O. Russell, 
Agnes Gund, Ian Wardropper, and Spike Jonze (front 
row, far right) 

18 The Frick Collection 

Members Magazine Spring/'Summer 2016 19 


Please visit our Web site at to see a 
complete listing of current programs as well 
as upcoming events for the fall. 

Free Nights 

Celebrate the summer with free evening 
hours and programs inspired by our 
special exhibitions. Enjoy gallery talks, 
performances, sketching, and more. For 
details, visit 

Fridays, June 24, July 15, and August 5 
6:00 to 9:00 p.m. 

Summer Lecture 

Free; seating is on a first-come, first-served 
basis. Selected lectures are webcast live and 
archived for future viewing on our Web site; 
visit for details. 

Wednesday, July 13, 6:00 p.m. 

Watteau: Making as Meaning 

Aaron Wile, Anne L. Poulet Curatorial Fellow, 
The Frick Collection 


Artists and visitors of all skill levels are 
invited to sketch paintings, sculptures, 
architectural details, and decorative arts in 
selected galleries. Materials are provided. 

Wednesdays in July, 5:00 to 7:30 p.m. 
Wednesday Night Sketch 
Free admission is included, but online 
registration is required. To register, please 

Sundays, July 10 and July 24 

Sunday Sketch 

Drop in any time between 1:00 and 3:00 p.m. 
Free with museum admission, or arrive 
early to gain entry during Sunday “pay what 
you wish” hours, between 11:00 a.m. and 
1:00 p.m. 

Salon Evening 

Inspired by the Fricks special exhibitions, 
Salon Evenings feature performances 
of music, dance, and drama, as well as 
discussions with artists, writers, and 
scholars. Purchase tickets online at; $40, $35 for members. 

Saturday, September 17, 7:00 p.m. 

Scenes of Military Life in Text and Image 

Actors perform a series of staged readings 
that reveal the inner lives of soldiers on and 
off the battlefield. Presented in collabora¬ 
tion with the Juilliard Drama Division and 
in conjunction with “Watteaus Soldiers: 
Scenes of Military Life in Eighteenth-Century 

Student Programs 

During the month of July, The Frick 
Collection will offer free after-hours 
programming for high school students, 
college students, and recent graduates. Visit for more information. 

The Museum Shop offers a wide 
selection of Collection-inspired gifts 
in addition to exhibition catalogues, 
books, and prints. Members always 
receive a 10 percent discount. 

Watteau’s Soldiers 

112 pages 
Hardcover, $39.95 
Softcover, $22.95 


No Simple Matter 

32 pages 

Softcover, $10.95 

Limoges Enamels 

80 pages 

Hardcover, $19.95 

Support the Frick through Planned Giving 

One Members Inspiring Legacy 

I n March, The Frick Collection received a 
generous bequest from John A. Torson, 
a longtime dual member who passed away 
last year. Mr. Torsons nephew, Matthew 
Smith, says Mr. Torson “introduced him to 
the world of color” when he first brought 
him to the Frick as a young boy. An art 
dealer and a proud New Yorker for more 
than sixty years, Mr. Torson loved New 
York City like no other, and his passion 
for the Big Apple was due to the unrivaled 
dedication and support of the arts that [the 
Frick] embodies each and every day.” 

Mr. Torson understood the importance 
of how ones life can be enriched by the arts, 
and his gift helps to ensure that the Frick 
continues to inspire the next generation. 
Please consider following his example by 
becoming part of a rich heritage of planned 
giving that dates back to the museums 
founder more than a century ago. 

For confidential help or information about 
different ways to include the Frick in your 
estate plans, please contact David W. Martin 
at 212.991.5770 or 

20 The Frick Collection 

The Frick Collection 

i East 70th Street 

New York, New York 10021 


Collection Hours 

10:00 a.m. to 6:00 p.m. Tuesday 
through Saturday; 11:00 a.m. to 5:00 p.m. 
Sundays; closed Mondays and holidays 


Members receive unlimited free 
admission to The Frick Collection. 
Adults, $22; $17 for seniors; 

$12 for students; on Sundays from 
11:00 a.m. to 1:00 p.m., visitors are 
invited to pay what they wish. 

Children under ten are not admitted. 


For information regarding your 
membership or to give a membership 
as a gift, please call the membership 
department at 212.547.0707. 

The Museum Shop 

The Museum Shop is open during 
regular Collection hours. You may also 
purchase items online at or 
by telephone at 212.547.6848. 

Frick Art Reference Library 

10 East 71st Street 

New York, New York 10021 


Library Hours 

10:00 a.m. to 5:00 p.m. Monday through 
Friday; 9:30 a.m. to 1:00 p.m. Saturdays. 
Closed Sundays, holiday weekends, and 
Mondays and Saturdays in August. 

The Library is open to all researchers 
free of charge. 

Visit our Web site at 






g Jean-Auguste-Dominique Ingres (1780-1867), 

g detail of Comtesse d’Haussonville, 1845, 

1 oil on canvas. The Frick Collection